THE COMMITTEE & THE GUESTS

TRIMUKHI PLATFORM COMMITTEE

Sukla Bar Chevallier was born in 1973 in India. After a Bachelor’s degree in Bengali literature, another in Commerce (University of Calcutta), she headed for 4 years a home for students from disadvantaged villages of Bengal, then, for 4 more years, a Non Formal Education and International Child Development Program in West Midnapur on alternative education for children from tribal areas excluded from the school system. She has also worked in Chicago (USA) in migrant children’s homes. She resumes her studies at Indira Ghandi University, New Delhi and obtains a Master in Social Work. The subject of his dissertation was “Tribal village organisation as a relay to social work”. Once Trimukhi Platform started, organisation she co-founded with Jean-Frédéric Chevallier and 18 families from the Santhal village of Borotalpada, her activities have steadily increased – for example: logistics manager for documentary and art films, “Postmodern theorist” at an international conference, “warm facilitator” for creative workshops and socio-anthropological research as well as for rehearsals with Mexican, Colombian and Spanish artists, “designer” of sound installations and even “actress ” in two theatre performances: Nous n’habitons plus les paysages (France) and Per Ruptam Silvam (India). More formally, she is general secretary of Trimukhi Platform, producer of all the events and arts works of the organisation, and co-responsible, with Motilal Hansda, of human relations in the village of Borotalpada. In 2016, she was invited to share her reflections on her life course in Quebec, Canada. She titled her lecture: From Social Work to Work for the Arts: Trimukhi Platform in India.

As Jean-Frédéric Chevallier was born in France in 1973, in other words, shortly after May ’68, he received an education that was stimulating to an extreme. While he has practically given up playing the guitar, painting with tea liquor, experimenting culinary combinations and constructing electronic robots, he continues directing dance-theatre performances (the last to date, co-directed in India with Surujmoni Hansda, a young Santhal village girl aged 15: Essay on Seasonal Variation in Santhal Society); making film-essays (a Franco-Indian example: Drowning Princess, co-directed with French choreographer Maïa Nicolas – DVD L’Harmattan, 2009); designing video installations (for example, on the riverbanks of Québec: Try Me Under Water); writing books in French (the latest: Deleuze et le théâtre. Rompre avec la représentation, Les Solitaires Intempestifs, 2015), in Spanish (a Mexican example: El Teatro hoy : una tipologia posible, Paso de Gato, 2011) or in English (Deleuze from India, to be published by Sampark in 2018); occasionally spending a few days in the ecumenical community of Taizé; giving, from India to America, via Europe, conferences that he hopes are as stimulating as the education he received was; coordinating the Night[s] of Theatre, a contemporary performing art festival in Borotalpada tribal village in West Bengal. But when he needs to exude gravitas, Jean-Frédéric Chevallier introduces himself as theatre director and philosopher, holder of three master’s degrees and one PhD, two years lecturer at the Université de la Sorbonne Nouvelle in Paris and seven years professor at the National University of Mexico, and a resident of West Bengal, India since 2008, where he co-directs with his wife the non-profit organisation Trimukhi Platform and the bilingual journal Fabrique de l’art.

Chintamoni Hansda celebrated her fifteenth birthday on 12th March 2016 in the middle of a dry rehearsal. Her birthday was part of the program and she shared her cake with the hundred and fifty spectators present at the event. She had started rather early: in 2008, she already participated in Monsoon Night Dream and in 2012 she danced for I Saw The World Resting Within Itself. She then performed in Bachchader Experimentum, Essay on Seasonal Variation in Santhal Society, Try Me Under Water and জল ই জীবন । La vie dans l’eau. She attended three arts training sessions as well as Creature of Flesh and Paper and Light and Sight 3 workshops. During Trimukhi Platform’s theatre performances, she is also responsible for launching sound and video tracks from the Apple computer. She has chosen to specialise on creative writing. For her mid-term personal art project, she plans to open a literary blog in Bengali.

Dhananjoy Hansda is the first from Borotalpada village to be born in a nursing home. It was in 1997 and that’s why he was nicknamed “Doctor”. He participated in Essay on Seasonal Variation in Santhal Society, Try Me Under Water and Serendipity. He also participated in the construction of Trimukhi Cultural Center and collaborated in the preparation of the Flying Bamboo installation with the Mexican artist Alejandro Orozco. He was in charge of the live video for Bachchader Experimentum as well as the video archives of Night of Theatre n°9 • La Nuit des Idées. He followed the Light & Sight 1, 2 and 3 workshops as well as the arts training sessions. Since few years he is co-responsible with Sukul Hansda of the Cultural Center. He also continues to be in charge of the video registers. For his mid-term personal project, he plans to edit a video and photo documentary on Trimukhi Platform in the village / in the city.

Surujmoni Hansda was born in 2001. She worked briefly in Monsoon Night Dream and much more in Guignol’s dol and Bachachder Experimentum. She participated in the long shoot of the 9-track video shown in Try Me Under Water. For Essay on Seasonal Variation in Santhal Society and Try Me Under Water, in addition to intervening, she was also co-director with Jean-Frédéric Chevallier. She has followed the double Creatures of Flesh and Paper workshop as well as three arts training sessions. She prefers the choreographies of French Franck Michelletti to the staging of the Italian Romeo Castellucci, because, certainly, these are excellent bills, but too borrowed from blackness of sadness for his taste. Elle est intervenue brièvement dans Monsoon Night Dream puis beaucoup plus conséquemment dans Guignol’s dol et Bachachder Experimentum. Elle a participé au long tournage de la vidéo 9 pistes projetée dans Try Me Under Water. Pour Essay on Seasonal Variation in Santhal Society et Try Me Under Water, outre qu’elle intervenait, elle était aussi co-metteuse en scène avec Jean-Frédéric Chevallier. Elle a suivi le double atelier Créatures de chair et de papier ainsi que trois des sessions de formation aux métiers des arts. Elle préfère les chorégraphies du français Franck Michelletti aux mises en scène del’italien Romeo Castellucci, car, certes, ces dernières sont d’excellentes factures, mais trop empruntes de noirceur de de tristesse pour son goût.

Salkhan Hansda was born in 1998, in the village of Borotalpada. He enlightened The Thing That Happens When We Are Not Theater, participated in Per Ruptam Silvam, Serendipity, Bachchader Experimentum, Essay on Seasonal Variation in Santhal Society and Try Me Under Water, as well as in the construction of the Cultural Center and Flying Bamboo installation. He followed the Lumière & regard 1 and 2 workshops, and the arts training sessions. If, during certain months of the year (when the cultural center is not in activity), he has to go away and go to work as a worker in a particular factory, it is to help his parents financially to finish the work. building their new house.. Il a éclairé The Thing That Happens When We Aren’t Theatre, a participé à Per Ruptam Silvam, Serendipity, Bachchader Experimentum, Essay on Seasonal Variation in Santhal Society et Try Me Under Water, ainsi qu’à la construction du Centre culturel et de l’installation Flying Bamboo. Il a suivi les ateliers Lumière & regard 1 et 2, et les sessions de formation aux métiers des arts. Si, certains mois de l’année (quand le centre culturel n’est pas en activité), il doit s’absenter et aller s’employer comme ouvrier dans telle ou telle usine, c’est pour aider financièrement ses parents à terminer la construction de leur nouvelle maison.

Sukul Hansda was born in 1998, in the village of Borotalpada. He has participated in Bachchader Experimentum, Psychogéöhörspiel II, Essay on Seasonal Variation in Santhal Society and Try Me Under Water. He attended the arts training sessions. Since 2016, he is in charge of the technical control of the shows and he is, for this year 2017, co-responsible of the Cultural Center with Dhananjoy Hansda. He specializes in sound art. en 1998, dans le village de Borotalpada . Il a participé à Bachchader Experimentum, Psychogéöhörspiel II, Essay on Seasonal Variation in Santhal Society et Try Me Under Water. Il a suivit les sessions de formation aux métiers des arts. Depuis 2016, il est chargé de la régie technique des spectacles et il est, pour cette l’année 2017, co-responsable du Centre culturel avec Dhananjoy Hansda. Il se spécialise en art sonore.

Pini Soren was born in 2004 in Borotalpada village. If she is the youngest of the team, she has nevertheless already participated in five shows produced by Trimukhi Platform (the first being The Thing That Exists When We Are Not There), a workshop, a film and four trades training sessions. Arts. It is she who motivated the other girls to participate in these sessions. Actress committed, with a presence of rare subtlety, she intends to work all her life on the stage. Si elle la plus jeune de l’équipe, elle a néanmoins participé déjà à cinq spectacles produits par Trimukhi Platform (le premier étant The Thing That Exists When We Aren’t There), un atelier, un film et quatre sessions de formation aux métiers des arts. C’est d’ailleurs elle qui a motivé les autres filles à participer à ces sessions. Actrice engagée, avec une présence d’une rare subtilité, elle entend travailler toute sa vie sur la scène.

SOME OF THE MEMBERS OF THE COORDINATION TEAM

Bhudray Besra was born in 1990 but not in Borotalpada village. If he was finally in charge of the Cultural Center for two years, it was because he fell in love with a girl from Borotalpada whose father and sister had participated in Monsoon Night Dream. Bhudray was also a dramaturge and assistant director for Bachchader Experimentum. For Essay on Seasonal Variations in Santhal Society he took care of the biographical researches and for the Night of the Theater 9 • The Night of ideas, of the translation in santhali of the philosophical capsules “what is the art? And what is thought? “. He also followed a photographic creation workshop and all the training sessions for the crafts. He is now tutoring for a living. He loves to write and is happy that ten years ago mobile phones were not yet the norm, so he was able to conquer his wife in writing: “love letters is much better than phone conversations, “he says. né en 1990 mais pas à Borotalpada. S’il y a finalement été responsable du Centre Culturel, et ce durant deux ans, c’est qu’il est tombé amoureux d’une jeune fille de Borotalpada dont le père et la sœur avait participé à Monsoon Night Dream. Bhudray a aussi été dramaturge et assistant mise en scène pour Bachchader Experimentum. PourEssay on Seasonal Variations in Santhal Society il s’est occupé des recherches biographiques et pour la Nuit du Théâtre 9 • La Nuit de idées, de la traduction en santhali des capsules philosophiques « qu’est-ce que l’art? » et « qu’est-ce que la pensée? ». Il a suivi aussi un atelier de création photographique et l’ensemble des sessions de formation aux métiers d’art. Il fait maintenant du soutien scolaire pour gagner sa vie. Il adore écrire et est heureux qu’il y a une dizaine d’année les téléphones portables n’étaient pas encore la norme, ainsi il a pu faire la conquête de sa femme par écrit : « les lettres d’amour, c’est beaucoup mieux que les conversations téléphoniques », assure-t-il.

Falguni Hansda habite dans le village Santhal de Borotalpada. Mère de trois enfants, elle s’emploie comme travailleuse agricole journalière et comme cuisinière de l’école primaire locale. Elle est Vice-présidente de Trimukhi Platform. Elle a participé, comme intervenante, au Séminaire préambulaire en 2011 et, comme actrice, à Monsoon Night Dream en 2008-2009, à Guignol’s dol en 2012, The Thing That Exist When We Aren’t There en 2013, Buru Jatra et Going Through This Place Now en 2017. Falguni Hansda lives in the Santhal village of Borotalpada. A mother of three, she works as a day laborer and cook at the local primary school. She is Vice President of Trimukhi Platform. She participated, as a speaker, at the Preamble Seminar in 2011 and, as an actress, at Monsoon Night Dream in 2008-2009, at Guignol’s Dol in 2012, The Thing That Exist When We Are Not There in 2013, Buru Jatra and Going Through This Place Now in 2017.

Motilal Hansda est le mari de Falguni. Il est le « Parani » du village, ce qui peut se traduire par : « responsable du maintien de la fluidité des relations entre les personnes ». Par exemple, lorsqu’une femme bat son mari ou l’inverse, c’est lui qui s’en occupe. Ou bien encore : lorsqu’en période de répétitions, un rite santhal doit être réalisé, c’est lui aussi qui aménage temps et/ou espace pour que rite et répétition aient lieu. Il a été musicien pour le spectacle Monsoon Night Dream, danseur sur The Thing That Exist When We Aren’t There, a participé activement à la construction du Centre culturel, a suivi les deux ateliers de créations photographiques Lumière & Regard et s’est chargé de l’introduction en Santhali de la Nuit du Théâtre 9 • La Nuit des Idées. C’est l’homme le plus savant et le plus sage de l’équipe de coordination. Motilal Hansda is the husband of Falguni. He is the “Parani” of the village, which can be translated as: “responsible for maintaining the fluidity of relations between people”. For example, when a woman beats her husband or vice versa, he is the one who takes care of it. Or again: when in rehearsal, a santhal rite must be realized, it is also he who arranges time and / or space for ritual and repetition to take place. He was a musician for the show Monsoon Night Dream, dancer on The Thing That Exist When We Are Not There, actively participated in the construction of the Cultural Center, followed the two workshops of photographic creations Lumière & Regard and took charge of the Santhali introduction to Theater Night 9 • The Night of Ideas. He is the most knowledgeable and wise man on the coordination team.

Kalicharam Hembrom habite dans le village Santal de Borotalpada. Il est agriculteur et acteur. Il est intervenu dans les spectacles Monsoon Night Dream et Guignol’s dol. Il est membre du bureau de l’association Trimukhi Platform où il est en charge des questions administratives locales. Dans sa maison, sont logés les invités de Trimukhi Platform. A chacune des Nuits du Théâtre, il s’assure, du couché du soleil à l’aube, que le village entier est dans la paix. Kalicharam Hembrom lives in the sandal village of Borotalpada. He is a farmer and actor. He took part in the shows Monsoon Night Dream and Guignol’s dol. He is a member of the Trimukhi Platform office where he is in charge of local administrative matters. In his house are the guests of Trimukhi Platform. At each Nights of the Theater, he makes sure, from sunset to dawn, that the whole village is in peace.

Sumi Soren est la grande sœur de Pini. Elle a participé à Tierra Roja lors de la Nuit du Théâtre 6, Bachchader Experimentum lors de la Nuit du Théâtre 8 puis ensuite à Calcutta, et aux répétitions générale d’Essay on Seasonal Variations in Santhal Society. Reste que comme son père, âgé, est tombé malade, et que son frère ainé n’est pas trop porté sur le travail, elle doit s’employer comme ouvrière dans une petite usine locale de sorte d’aider sa famille et permettre à Pini de continuer l’aventure sur scène. Recently she run away to her boyfriend’s home which means, following Santhal tradition, that she married him. Her now husband’s family is nice, said her little sister Pini. Sumi Soren is Pini’s big sister. She participated in Tierra Roja during Theater Night 6, Bachchader Experimentum at the Night of Theater 8 and then in Calcutta, and in the rehearsals of Essay on Seasonal Variations in Santhal Society. Still, as his elderly father became ill, and his elder brother is not too focused on work, she must be employed as a worker in a small local factory so as to help her family and allow Pini to continue the adventure on stage. She is now following Santhal tradition, that she married him. Her husband is so nice, said her little sister Pini.